Enharmonic transformation is one of the most important resources of the tonal system. This procedure occurs already in music of the late Baroque period, particularly in compositions by Bach, Handel, and D. Scarlatti. It is only in the Classical period, however, that the expressive and musical possibilities of enharmonic relationships are fully exploited. In music by Haydn, Mozart, and Beethoven, enharmonic transformation helps create effects of wit, suspense, or surprise. It is used as a basis for modulation and as a means of creating organic connections between contrasting sections. Enharmonic reinterpretation can occur within short, discrete passages, as well as between those that are widely separated.' In music of the Classical period, enharmonic connections may be obvious or subtle. Obvious enharmonic connections often occur when the